In Engaging Art Prize: A Storied Theology of the Arts [Part Two], I suggested that a rightly Storied theology of the arts, one that acknowledges art as created good and redemptive word, maintains the tension between the uselessness and usefulness of art. Besides plugging that series – we are, after all, in the midst of Art Prize 2012 – I would like to return to my previous theme; namely, a rightly Storied theology of the arts. I will begin by responding to a couple of recent blog posts from Daniel A. Siedell, Director of Theological and Cultural Practices at Coral Ridge Presbyterian Church, Fort Lauderdale, FL, USA. This will be followed by a response to Siedell’s God in the Gallery, further reflections upon a Storied theology of the arts, and then a final response from Siedell. The five-part series, published between now and the end of the year, will be as follows:
Part 1 – A Response to Siedell’s “Art and Culture, or Politics by Other Means–Evangelical Style”
Part 2 – A Response to Siedell’s “Art and Explanation”
Part 3 – A Response to Siedell’s God in the Gallery: A Christian Embrace of Modern Art
Part 4 – Of What Use Is Story? Further Reflections Upon a Storied Theology of the Arts
Part 5 – A Response from Siedell
In “Art and Culture, or Politics by Other Means–Evangelical Style,” Siedell affirms Kant’s intuition (i.e., that art is useless) as well as Crouch’s argument along these lines found in For the Beauty of the Church over against evangelical cultural critics who demand “that everything that is produced, including art, justify itself by its utility.” Siedell states: “Taking seriously art’s uselessness is a way to preserve an aesthetic moment that defies the forensic structure of reality, a moment that testifies to an alien presence, grace.”
I find Siedell’s argument here troubling for several reasons:
- It presents a false dichotomy: art is either useless or useful; that is, it is either grace or law. I reject the false dichotomy, and ironically, intend to argue that Siedell does as well (i.e., pragmatically if not confessionally). I will return to this criticism, fleshing it out by way of a response to Siedell’s God in the Gallery, in Part 3 of my series.
- While referencing Crouch, Siedell fails to answer Crouch’s call for a more serious engagement (i.e., see the comments to W. David O. Taylor’s review) in this post.
- Siedell’s generalization of evangelical cultural critics and Christians is a false one (i.e., every evangelical cultural critic and Christian does not demand “that everything that is produced, including art, justify itself by its utility,” Crouch, whom he cites, as well as Hans Rookmaaker whom he cites in another post, being examples to the contrary). Giving Siedell the benefit of the doubt, he would likely be able to provide more specific examples in support of his argument, but it would be helpful if he had done so in this post as specifics are always more helpful than generalizations, especially false ones. In the absence of such specifics, Siedell’s critics and Christians are nothing more than straw men.
- Throughout Siedell’s work, and this post is no exception, the art critic and/or curator are explicitly, as well as implicitly, privileged above all others. This is especially ironic given Siedell’s conclusion; namely, that “Evangelical participation in the arts and culture is graceless….simply another form of politics.” Tu quoque. I will return to this criticism in Part 2.
- Siedell’s tone in the final paragraph is unhelpful as it insinuates that only one party is to blame (i.e., the Church as opposed to artists, etc.). Clearly, the relationship is broken, but both sides are at fault and would do well to heed Karl Barth’s advice to a divided Church. In his Church Dogmatics IV:1 Barth argues: “And in the face of this scandal the whole of Christendom should be united in being able to think of it only with penitence, not with the penitence which each expects of the other, but with the penitence in which––whatever may be the cost––each is willing to precede the other.” 
What do you make of the useless/useful debate? And what might it look like to take Barth’s advice, especially with regard to 4 and 5 above?
 Daniel A. Siedell, God in the Gallery: A Christian Embrace of Modern Art (Grand Rapids, MI: Baker Academic, 2008). I count Dan as a friend and am thankful for his work. I devoured his God in the Gallery within weeks of its release, toured the Phillips Collection with him at Q earlier this year, read his posts with regularity and exchange the occasional email. This series, then, is intended to be a conversation.
 Andy Crouch, “How Art is a Gift, a Calling, and an Obedience,” in For the Beauty of the Church: Casting a Vision for the Arts, W. David O. Taylor, ed. (Grand Rapids: Baker, 2010). See Jim Watkins’ review here.
 Hans Rookmaaker, Art Needs No Justification (Downers Grove, IL: InterVarsity, 1978).
 Karl Barth, Church Dogmatics IV:1, G.W. Bromiley and T.F. Torrance, eds., G.W. Bromily, trans. (London: T&T Clark, 1956), 675-676.